Theater as an art form, and its fundamental difference from other art forms. Theatrical art and its features

THEATER AS A KIND OF ART

Like any other art form (music, painting, literature), the theater has its own special features. This art is synthetic: a theatrical work (performance) consists of the text of the play, the work of the director, actor, artist and composer. Music plays a decisive role in opera and ballet.

In the last quarter of the XIX century. throughout Europe, but primarily in France, began to be created cabaret theaters , which combined the forms of theater, stage, restaurant singing. The most famous and popular were "The Black Cat" in Paris, "The Eleven Executioners" in Munich, "Damn It All" in Berlin, "Crooked Mirror" in St. Petersburg.

People of art gathered in the premises of the cafe, and this created a special atmosphere. The space for such representations could be the most unusual, but most often the basement was chosen - as something ordinary, but at the same time mysterious, a little forbidden, underground. With cabaret performances (short scenes, parodies or songs), both for the public and for the performers, a special experience was associated - a feeling of unfettered freedom. The sense of mystery was usually enhanced by the fact that such performances were given late, sometimes at night. To this day, in different cities of the world there are real cabarets.

A special kind of theatrical performance - puppet show. In Europe, it appeared in the era of antiquity. Home performances were played in Ancient Greece and Rome. Since that time, the theater, of course, has changed, but the main thing remains - only puppets participate in such performances. However, in recent years, dolls often "share" the stage with actors.

Each nation has its own puppet heroes, in some ways similar, but in some ways different. But they all have one thing in common: on stage they joke, play pranks, ridicule the shortcomings of people. Dolls differ from each other, both in "appearance" and in device. The most common puppets are those that are controlled with the help of threads, puppets, and cane puppets. Puppet theater performances require special equipment and a special stage. At first, it was just a box with holes made from the bottom (or top). In the Middle Ages, performances were held on the square - then a curtain was pulled between two pillars, behind which the puppeteers hid. In the 19th century performances began to be played in specially built rooms.

A special form of puppet theater is the theater of puppets, wooden puppets. Special scenarios were written for the puppet theater. The history of the world puppet theater knows many famous names. The performances were a huge success. Revaz Levanovich Gabriadze (born 1936), a Georgian puppeteer and playwright, offers new solutions in his fantasies.

THE ORIGIN OF THE THEATER.

Theater is a "vanishing" art, difficult to describe. The performance leaves a trace in the memory of the audience and very few material, material traces. That is why the science of the theater - theater science - arose late, at the end of the 19th century. At the same time, two theories of the origin of the theater appeared. According to the first, the art of siena (both western and eastern) developed from rites and magical rituals. There was always a game in such actions, the participants often used masks and special costumes. Man "played" (depicted, for example, a deity) in order to influence the world around him - people, nature, gods. Over time, some rites turned into secular games and began to serve for entertainment; later, the participants in such games separated from the spectators.

Another theory connects the origin of the European theater with the growth of the self-consciousness of the individual. A person has a need to express himself through spectacular art, which has a powerful emotional impact.

"PLAY LIKE ADULT, ONLY BETTER"

The idea that special theaters should be created for children in ALA appeared a long time ago. One of the first "children's" productions was the work of the Moscow Art Theater. In 1908, he staged the play "The Blue Bird" by the Belgian playwright Maurice Maeterlinck, and since then the famous performance has not left the siena of the Gorky Moscow Art Theater. This production determined the path of development of performing arts for children - such a theater must be understandable to the child, but by no means primitive, not one-dimensional.

In Russia, children's theaters began to appear after October 1917. Already in 1918, the First Children's Theater of the Moscow Council was opened in Moscow. She became the organizer and manager, wonderful artists designed the performances, and a well-known choreographer worked here. Natalya Ilyinichna Sats () devoted her entire creative life to theater for children. In the years she was the artistic director of the Moscow Theater for Children (now the Central Children's Theatre). Her last brainchild is the Moscow Children's Musical Theater (bears the name). In February 1922, the Theater of Young Spectators in Leningrad received its first spectators. One of its founders and permanent leader was director Alexander Alexandrovich Bryaniev (). He believed that in the theater it is necessary to unite artists who can think like teachers and teachers who are able to perceive life as artists.

New, purely technical problems have appeared. A special light was needed in the room, it was necessary to give a "picture" of the background, which would be before the eyes of the audience for several hours of action. Frames with canvases were inserted into a real architectural composition - other buildings or interiors were depicted on them, and thus the illusion of a different space was created on the playground. Sometimes a landscape was painted on canvas, as if “breaking through” the wall and breaking out into the world blocked by the architect.

In the Middle Ages, performances began to be played again in the open air. Forms of medieval folk, street theater were preserved in the Renaissance - in the design of the Shakespearean stage. The name of the great English playwright is called the type of construction of theatrical space that existed during the reign of Queen Eli Testaments I Tudor (gg.).

A feature of the Elizabethan scene was its division into three playgrounds. Such a scene (highly protruding into the auditorium) was ready to receive whatever the playwright's fantasy would give birth to. It made it easy to transfer the action of the play from one country to another, to freely move events in time. Sometimes the details of the situation were explained in the text that sounded from the stage. In the plays of Shakespeare and his contemporaries, one can not only find detailed remarks, but also learn from the characters themselves what this or that landscape looks like. The heroes of the play "The Tempest" who miraculously escaped from the shipwreck, coming out of the water, say with surprise: "Our clothes, soaked in the sea, nevertheless have not lost either freshness or colors" or: "In my opinion, our dress looks brand new ... " etc.

The theater itself established the conventions and rules by which the two parts of a single theatrical whole were connected - the play and the audience. Everything that got into the playing space, onto the stage, was transformed: a tree in a tub became a forest, an armchair became a royal throne, ordinary clothes became a theatrical costume. In the XVI century. in the city of Vicenza in northeastern Italy, the outstanding Renaissance architect Andrea Palladio (real name di Pietro di Padova,) built the Olimpico Theater (15). This building was completed by a follower of Palladio - Vincenzo Scamozzi (). The Olimpico Theater had a ceiling above both the playground and the auditorium. The space of the theater seemed to be slammed shut. Behind the backs of the actors, in the depths of the stage, voluminous architectural scenery was placed. There, in the depths, the actor could not enter - otherwise he would destroy the illusory space. But on the sloping floor of the original "streets" it was possible to put flat painted figures of characters, cut out in the right scale, and before the eyes of the audience, as in ancient times, an endlessly lasting world appeared. And on the ceiling of the hall, the painter depicted the sky, trying to maintain the old connection with the world around the theater.

A lot of what theater architects and artists came up with during the Renaissance has been preserved in the theater to this day. The ramp line (fr. rampe), the boundaries between the spectator and playing space, is still often marked with small lamps. Equipped with special reflectors, they are placed to brightly illuminate the stage and the faces of the actors. Cables (ropes) were pulled on console mounts extended from the wall, and with the help of a special device, the characters flew over the stage. Despite the latest achievements of modern stage technology, the principle of this device is still considered the most reliable. By the end of the XVII century. in theatrical architecture, the stage box finally took shape - the same one that can be found in the theater now. Particular attention was paid to artists until the end of the 19th century. focused on how to keep the viewer feeling that this box contains a huge space. This so-called Italian scene has become the most widespread in the European theater.

Within the Italian scene of the box, the artist, following the instructions of the playwright, built the scenery according to the plans: from the foreground (line of the ramp) he gradually "stretched" the image and reduced it to the background - a flat picturesque backdrop. On the wings, lined up on both sides of the stage, on the planes of the hedges, there is an image, for example, of a forest. Tree trunks painted on the wings, branches intertwined above the scene in the painting of the padugs form a kind of arches that go down from plan to plan in depth and merge with the forest landscape of the backdrop. This system of scenery, which developed in the Baroque theater (the end of the 16th - the middle of the 18th century), was called just that - kulisnoarochshya. Painters-decorators worked real miracles on the theatrical stage. The theatrical technique, which became more sophisticated over time, made it possible to arrange fires, floods, volcanic eruptions on the stage ... One of the greatest theater artists of the late 18th - early 19th centuries. Pietro di Gottardo Gonzago (17) called theatrical scenery "music for the eyes".

As an independent form of art, theatrical decoration takes shape only by the middle of the 19th century. Dramaturgy began to set new tasks for the theater - not only to designate a scene or a historical era. It is difficult to imagine the events taking place in Gogol's The Government Inspector, or Griboyedov's Woe from Wit, or Pushkin's Boris Godunov without specific signs of time, without characteristic details of everyday life and costume. Drama theater was rapidly moving towards creating a life-like environment on the stage.

In the first production of the play "Late Love" in 1873, the artist of the Maly Theater P. Isakov in the room on the stage set up a Dutch stove with smoked tiles near the firebox door, as always happens in real life. This detail caused almost indignation of the audience, accustomed to the "beautiful and sublime". The actors also thanked the artist for the fact that in his interior "you can not play, but you can live." "Truthful Stops" helped them to feel the specific atmosphere of the action.

The birth of the director's theater at the turn of the 19th-20th centuries gave rise to new theatrical experiments, and the scenography of the early 20th century. experienced a period of discovery in its history. Little things, individual items of props helped to solve the same basic theatrical problem of interaction between the playing and spectator spaces. Divided by a line of ramps, the performance and the audience influence each other, the general mood is born thanks to the efforts of the director, artist, actors - and of course the viewer.

During the first half of the XX century. directors and stage designers consistently analyzed all the possibilities of the box scene and experimented with the arena scene. They mastered the volume vertically, diagonally, making its three-dimensionality more and more tangible, extracting the maximum of figurative expressiveness from the stage space.

Like-minded artists united around the directors of different schools and trends, who brought new plastic ideas to the theater. An example is the creative union of Alexander Yakovlevich Tairov (), the chief director of the Moscow Chamber Theater, with the painter Alexandra Alexandrovna Exter () and the architect Alexander Alexandrovich Vesnin ().

Alexandra Exter came to the Chamber Theater from easel painting. In search of new rhythms, she turned the plane of the stage into stairs of different heights, building unusual plastic compositions in Tairov's performances. created for the play "Phaedra" (1922; play by Racine) an installation of inclined platforms, on which the characters in colorful costumes and cothurns came out, which came from the ancient theater to the performance of the 20th century.

The actors wore large headdresses, reminiscent of the architectural completion of the temple. In such an outfit it is impossible to move quickly along an inclined plane, gesticulate vigorously, turn your head - in a word, the usual household plasticity was excluded by the artist. The need to physically overcome scenographic difficulties gave the actors unexpected strength for the ultimate emotional and plastic expressiveness.

In the early 20s. 20th century at the State Higher Theater Workshops Vs. Meyerhold studied and worked together with actors, directors and set designers. This was fundamental to his theatre. In Meyerhold's performances, the stage designer built a scenery machine for the worker-actor. All parts of the machine tool, the "tool" of the actor (his body, voice) had to work in perfect harmony.

Theatrical traditions of the past are studied and used by modern stage direction. Nowadays, set designers constantly work with the director, whose role in the preparation of performances continues to grow.

When the viewer comes to the theater today, he is clearly aware of the conventionality of the theatrical action and does not require an absolute life of likeness. The public is waiting for impressions that will awaken feelings, evoke associations with what has been experienced by everyone in their own lives.

There are performances when seats for spectators are placed right on the stage. This is how the director and set designer manage to force the audience to reconsider the usual notions that "the theater shows, and the audience watches." (Similar techniques can also be found in the past.) In the 1998 performance by director Valery Vladimirovich Fokin (born in 1946) and artist Sergei Mikhailovich Barkhin (born in 1938) "Tatyana Repina" (based on a little-known parody play), the action takes place in the church, during the wedding. Spectators can sit on the stage, appearing as guests at a wedding ceremony or birthday. The perception of the audience is sharpened by the fact that it is in a space intended for acting.

Theater space today can mean both the Universe and a room in an ordinary apartment. It depends on what tasks the creators of the performance set and solve.

SHAKESPEARE THEATER

Shakespeare's tragedies, comedies and chronicles were staged at the Globe Theater (built in 1599). The name is explained by the external similarity: the auditorium covered the stage from three sides and did not resemble a globe. However, there is another, symbolic meaning of the name: the theater is the world, and all the main plots of human life are presented in the plays. There was a canopy over the sienna of the Globe, and over the heads of the spectators there was an open sky.

Other English theaters were arranged in a similar way. The building was an open courtyard where the public, who bought cheap tickets, walked, stood or sat on boxes and baskets. Seats in the galleries surrounding the courtyard were more expensive - there the spectators were comfortably seated on benches and were sheltered from the weather. Above a simple plank stage, covered with a canopy from the rain, rose a turret, on which a flag was hung on the day of the performance. Theaters in London were built outside the city center, on the other side of the Thames, and if the inhabitants of the city saw the flag in the morning, they knew that there would be a performance today. Sitting in boats, taking with them baskets of provisions and warm capes, people swam across the river and went to the theater, where performances lasted for several hours in a row until it got dark.

The audience was very different - artisans with apprentices and students, soldiers and vagrants, detectives in disguise, tracking down thieves and swindlers, sedate merchants with their wives. In the boxes in the galleries one could see noble ladies and gentlemen in masks that covered their faces - they were not fit to be among ordinary citizens at a performance of a "public" theater. The mask in those days was as common in everyday life as gloves or a hat. It was worn to protect the face from cold and wind, dust and heat, to hide from immodest glances. In a word, the mask on the face did not surprise anyone.

THEATER COSTUME

The actor always wore a dress that could not be as traditional as casual wear. Not just "comfortable", "warmth", "beautiful" - on the stage it is also "visible", "expressive", "figurative".

Throughout its history, the theater has used the magic of the costume, which, however, exists in real life as well. The rags of a poor man, the rich attire of a courtier, military armor often in advance, before a close acquaintance with a person, determine a lot in our attitude towards him. A costume composition, made up of the usual details of clothing, but in a special, "speaking" way, can emphasize certain traits in the character's character, reveal the essence of the events taking place in the play, tell about historical time, etc. Theatrical costume evokes in the viewer their own associations, enriches and deepens the impression of both the performance and the hero. The costume incorporates the symbols of traditional culture. Wearing someone else's clothes means using the appearance of another person. In the plays of Shakespeare or Goldoni, the heroine dresses up in a man's dress - and becomes unrecognizable even to close people, although, apart from the costume, she has not changed anything in her appearance. Aphelia in the fourth act of "Hamlet" appears in a long shirt, with fluffy hair (in contrast to the court dress and hairstyle) - and the viewer does not need words, the heroine's madness is obvious to him. After all, the idea that the destruction of external harmony is a sign of the destruction of internal harmony exists in the culture of any nation.

The symbolism of color (red - love, black - sadness, green - hope) also plays a certain role in everyday clothes. But the theater made the color in the costume one of the ways to express the emotional state of the character. So, Hamlet on the stages of different theaters is always dressed in black. By design, cut, texture, theatrical costume, as a rule, differs from the household one. In life, natural conditions (warm - cold), and the social affiliation of a person (peasant, city dweller), and fashion play an important role. In the theater, much is also determined by the genre of performance, the artistic style of the performance. In ballet, for example, in traditional choreography, there can be no heavy dress. And in a dramatic performance saturated with movement, the costume should not prevent the actor from feeling free in the stage space.

Often theatrical artists, drawing costume sketches, distort, exaggerate the shape of the human body. The costume in a performance on a modern theme, oddly enough, is one of the most difficult problems. It is impossible to bring an actor dressed in a nearby store onto the stage. Only the exact selection of details, well-thought-out color scheme, correspondences or contrasts in the appearance of the characters will help the birth of an artistic image.

AT HOUSE AND AROUND

In the first production of the play "The Cherry Orchard" in 1904, together with theatrical artist Viktor Andreevich Simov (), he wrote on paper a plan of almost the entire estate house, although in the performance the viewer was shown only two rooms. But if the actors imagine the house as a whole, they know from where they entered the room on the sienna, where each door leads, where was the "children's room, my dear beautiful room", their sensations are inevitably transmitted to the audience. The viewer has a sense of the reality of the space in which the life of the characters passes before his eyes. When the curtain opens, according to Chekhov's play, there is no one in the siena. Then Dunyasha and Lopakhin enter - and the action begins. At the Moscow Art Theater, the action began immediately: dawn, the first rays of the sun color the white frosty space outside the windows of the room. After darkness and silence, broken only by flashes of fire and the crackling of logs behind the half-open door of the stove, the sienna is flooded with sunlight, and bird singing falls upon it, as it happens in spring at dawn.

ARTIST IN THE THEATER

The concept of an artist's individual creative manner in scenography acquires a special meaning. The theatrical artist collaborates with different theaters and different directors, and in each work he is like an actor in Siena - and not like himself, and always recognizable. The director, in turn, chooses a master who is close to him in style as a co-author.

In the Russian theater of the second half of the XX century. one of the most interesting was the creative union of the director and set designer David Lvovich Borovsky-Brodsky (born in 1934). The best performances by Borovsky at the Taganka Theater are "Hamlet" (a tragedy by W. Shakespeare), "The House on the Embankment" (based on the story) and "The Dawns Here Are Quiet" (based on the story). The artist's fantasy gives rise to complex metaphorical images in them with the help of authentic textures and things. Earth, wood, iron "collide" on the sienna, and this conflict interaction turns into a symbol. The forged blades in Hamlet pierce the boards of the sienna tablet, almost splitting them. Gravediggers throw real earth on siena. A huge knitted curtain moves horizontally, turns around its axis - it becomes an almost animated partner of the heroes of the play. In the play "The Dawns Here Are Quiet" the body of a military truck, in which the girls ride at the beginning of the action, is later "carried" to the boards, becoming either trees in the forest, then the walls of the house in the memories of the heroines, then lags thrown across the swamp.

The uniqueness of this artist's thinking was manifested in the performances of the Moscow Art Theater - in the productions of the plays "Echelon" and "Ivanov". Borovsky's solutions are akin to a mathematical formula: hidden in two brackets, it can be expanded into several pages - and again folded into a small line. His images, composed of carefully selected details, give extraordinary scope to the viewer's imagination.

The "Echelon" tells how women, children, old people go to the rear during the Great Patriotic War. In siena stands a structure assembled from railway rails, telegraph poles, and doors of a caravan. The sound of wheels at the junctions of the rails, the poles flickering outside the window, the clanking of the wagon door, the monotonous rhythm of the road stories give rise to a complex and expressive image of the performance, with outward simplicity and unpretentiousness.

Leventhal (born in 1938) works a lot in the musical theater, and not only in Russia. Picturesque thinking, an absolute ear for music, a subtle sense of style allow this set designer to be very different in performances - and always recognizable.

With the director, Leventhal staged operas. "Music for the eyes" sounds from the sienna in painting, textures, plasticity of stage forms. In order to convey the complex images of Prokofiev's works, the artist uses all the means available to the theater. In the opera The Gambler, the painting literally hangs over the sienna on tulle poles. Stage light fills with air, makes this painting "sound". In the modern theater, the techniques and methods of different types of art interact. The experience of the remarkable Czech artist Josef Svoboda can be called innovative. At the turn of the 1950s and 1960s, using film and television projection (that is, the technology of other arts), he created the famous Laterna Magica - a show in which an actor interacted with a moving projection. But all kinds of tricks on the theater siena are not new. Svoboda brought to the theater the understanding that it is necessary to artistically comprehend any technique used by the stage designer. Simple at first glance, the stage installations of this master conceal the possibility of unexpected transformations, each of which reveals the figurative solution of the performance more deeply.

Svoboda's striving for the diversity of the scenographic language pushes the theatrical technique itself to perfection. Lighting and technical effects in his performances, without becoming an end in itself, make the artist's "words" richer and more expressive. The scenographic techniques and methods of work of a modern theater artist are diverse. Painting, light, authentic textures and things, new audio, video, computer technologies - everything can be used to create an artistic image of the performance.

MAGIC BEHIND.

The third bell sounded. The hall slowly plunges into darkness, the curtain silently opens, and a picture gradually emerges from the darkness before the eyes of the audience: a sunny autumn morning, an old overgrown park, a small wooden arbor on the left, a bench in the center; in the distance, on a hillock, a path leaves, and behind the tree trunks, through their thinned crowns, a forest and a clear blue sky are visible. The hall is silent. The play begins.

This almost real world was invented by the director and the artist. By means of the theater they were able to truthfully and poetically convey the beauty of autumn nature, set the viewer in the right mood. And they were helped by people whom the viewer does not see, but who, along with the actors, the director and the artist, applauds. Theatrical backstage is an amazing world. The spirit of collective creativity always reigns here. Many people of various, sometimes unusual and rare professions take part in the creation of the performance.

First, the production designer, who has been working with the director for a long time on the artistic solution of the performance, brings sketches of scenery to the theater. But sketches are a flat, two-dimensional image, and a scene is three-dimensional space. Therefore, the theater artist can correctly evaluate the results of his work only by completing the layout of the scenery. At this necessary and extremely important stage, the layout designer comes to the aid of the artist. The uniqueness of the profession of a theatrical layout designer lies in the fact that he is an artist, a carpenter, a locksmith, and a draper at the same time. The master works in a certain scale - 1:20. Each theater has a sub-model - a twenty-fold reduced image of the stage. In this "box" and "conjures" the modeler. First, he usually makes the so-called cutting - "figures out" the scenery from plain paper. This is like a draft, from which you can then make a layout completely, without errors, from wood, cardboard, fabric and other materials.

The layout, as well as sketches of scenery, costumes, furniture and props are submitted to the artistic council of the theater. Leading actors, directors and other authoritative employees discuss and approve the proposed solution for the performance. Among those present at the meeting of the artistic council there is always the head of the post. So in the theater, the head of the artistic production part is abbreviated, that is, a group of artistic and technical workers who are engaged in the design of the performance. The head of the post is a responsible position. He manages the process of making scenery, and monitors their further operation.

At the technical meeting, which is held by the head of the post, a mount inventory is compiled - a detailed description of each detail of the decoration and the technology for its manufacture.

Use decorations of several types. Rigid, or built, made of wood (boards, bars, plywood) and metal. They must be both strong and lightweight, quickly installed on the stage. Rigid scenery is made collapsible - so that it is convenient to store and transport during the tour. Soft scenery is a rug used to cover the stage plan (floor), backstage covering the sides of the stage, ridges covering the top of the stage, as well as backdrops that create a background. Furniture, lighting fixtures (chandeliers, table lamps, wall and other lamps) and props are also carefully described. The same detailed inventory is made for costumes.

Before starting work in any production, be it a factory or a construction site, you need to determine how much money you need to spend, that is, calculate the estimate. The same is true in the theatre. This document is compiled by the head of the workshops. He takes into account all the upcoming costs and orders materials for the sets and costumes from the supply department.

With the director, the head post coordinates the schedule for supplying scenery to the stage. The director indicates what design details he needs before, and the head of the post calculates the time of work. The scenery drawings are made by the designer. Often the designer, and sometimes the artist himself, has to make templates - drawings or accurate life-size drawings. And finally, in the artistic production workshops of the theater, the production of scenery begins. The carpentry workshop is equipped with machines with which you can saw and process boards, saw out parts with a complex contour from plywood. Here they make decorative walls (frames made of bars covered with fabric), stairs, machine tools (collapsible platforms of different heights on the stage), columns, cornices, doors, windows, reliefs, etc.

Among the workers of this workshop there are cabinet makers - this is the name of the masters in the manufacture of furniture. A turner and a carver help them. If coniferous wood is mainly used for decorations, then furniture is better obtained from birch, oak or beech, and soft linden is good for carved details. Theatrical tables, chairs, sofas are different from ordinary home ones. The design is lightweight, but the details are connected very tightly - after all, in the theater, furniture is much more often transferred from place to place than at home.

If you need especially durable decorations, then frames are prepared from the metalwork shop. Also here they perform mounting metal fittings - "hardware": loops for connecting parts of the scenery, eyelets for hanging, brackets, hooks and much more. In addition to locksmiths, the workshop includes a welder, a tinsmith, a metal turner. Here they can solder a complex-shaped lampshade from wire, make a chandelier, an old goblet or fake swords.

Backdrops, backstage, padugas, tablecloths, furniture covers are sewn in the soft decorations workshop. The workers of this workshop make appliqué decorations on tulle and curtain netting. Here, on long, wide frames, a special mesh of a special weave called "bug" is woven from a thick thread. It holds its shape well and also serves as the basis for applications. A master of a very ancient specialty works in the soft scenery shop - an upholsterer, a draper. He knows how to upholster and trim an old-style chair with a braid, tighten it with silk fabric and fringe a lampshade. He knows how to tailor and sew sumptuous draperies with scallops, pelmets and tassels "for royal apartments".

It is far from always possible to purchase fabrics of the required color, which is why it is good when workshops have their own equipment for dyeing fabrics - large boilers in which fabrics are dyed, a rinsing bath, wringer rollers and a dryer. By the way, simultaneously with painting, the material for decorations is treated with a special compound - fire-retardant impregnation.

For final processing, the design details are sent to the painting and decoration workshop. The most important stage of work is the painting of soft decorations according to the sketches of the artist. The shop premises are spacious, bright, with high ceilings and galleries. It is most convenient to transfer an image from a sketch to a backdrop in a simple way - "by cells". To do this, the backdrop is first drawn with thin lines on the grid, and on the sketch, in order not to spoil the work of the author, the lines are marked with stretched threads in accordance with the scale. In the arsenal of the artist about the performers - brushes of different sizes. All brushes are with long handles, because masters write standing up. In their work, artists use aniline paints (water-based), glue paints (such as gouache), etc. To write, for example, clouds with airy, blurry edges, the artist uses an electric paint sprayer. From a close distance, theatrical painting is a continuous heap of color strokes, dots, lines. You can see the work from afar only by climbing the gallery, which is what the masters do from time to time.

Fabric painters work wonders. They turn cheap sacking into brocade: the pile of cotton velvet is smoothed with starch adhesive composition according to a patterned stencil, prescribed with "golden" paint - and an old precious fabric is in front of the viewer. Such artificially created textures look much more impressive from the stage than natural ones. The work of the prop shop is also important. Props are products depicting real objects that, for one reason or another, are difficult or impossible to use on stage. The prop artist is a jack of all trades. He takes various materials for his work: wood, plywood, wire, tin, foam plastic, foam rubber, fabric, paper, etc. He knows how to sculpt from clay and sculptural plasticine, saw and plan, work with wire and tin, solder and sew. The purpose of the work is to make such a thing so that it would be difficult to distinguish it from the real one even at close range. The favorite fake material is called papier-mâché. This is a mass that is obtained from a mixture of paper or cardboard with glue, starch, gypsum, etc.

In some theatrical workshops, the ancient craft of making artificial flowers is preserved to this day. Of course, you can take flowers made in a factory way. And if you need to decorate a hat? Then the store won't help. A small elegant bouquet will be made in the theater itself. The sewing workshop deals with theatrical costumes. The work of tailors in this workshop is outwardly similar to work in an ordinary atelier: the same sewing machines, dummies, ironing boards, heavy irons, large tables. But on the mannequins, instead of fashionable modern suits, there is an old camisole with gold buttons, a luxurious long dress with puffy petticoats, or an unusual outfit of a fairy-tale character.

The workshop also has a workshop for the manufacture of hats. The milliners of the hatter choose feathers, silk ribbons, braid, lace, bijouterie, artificial flowers, etc. for finishing products. In the shoe shop, wooden blocks are neatly placed on the shelves along the walls, on which boots, boots and shoes are sewn. There is a special machine for processing heels and soles. But the shoemaker does most of the work by hand, sitting in front of a low table - a workbench - on a low stool.

The most numerous workshop is the machine-decoration department, which is headed by the chief machinist. The stage is equipped with a variety of complex mechanisms (in the old days they were called "machinery"), and the shop manager must know how they work. In his submission - scene workers, or assemblers. The post manager, together with the artist, prepares the layout (a drawing showing the placement of the scenery), and the workers install the design. First of all, they fill the rug on the scene board. After that, they lower the necessary fence lifts and tie soft decorations to them. After that, hard decorations are taken out and attached to the tablet. The electric lighting shop "manages" the equipment with which the stage is illuminated. A variety of spotlights are placed in a ramp, on soffit rises, on portal towers, in lighting boxes; use portable equipment on tripods and projection installations. Also in charge of this workshop is electroprops - chandeliers, table lamps, candlesticks and candelabra (the flame of a candle is imitated by the light of a small light bulb). Before the performance, the illuminators put the spotlights in their places, check the light filters (special heat-resistant films of different colors), connect the electric props. For each performance, a layout plan is drawn up that fixes the location of the equipment. In addition, each performance has its own light score, which records how the light changes in the paintings. The illuminator conducts the performance behind the control panel.

No less important than light is sound design. In a special workshop, under the direction of the director, a soundtrack of the performance is created. In the theater's music library (a collection of records) you can find anything: the sound of the surf, the whistle of a blizzard, and the barking of a dog. Finished recordings are mounted.

The sound engineer's console is usually located in the box in front of the stage. The sound score (a recording similar to the light score) tells the operator those moments during the performance when to turn on and turn off the soundtrack. To make the sound voluminous, the speakers are located on both sides of the stage, and in the depths, and in the auditorium. There is a workshop in the theater where nothing is made - furniture, carpets, large window and door draperies, cornices for them are stored here. Before the performance, the worker puts everything on the stage in its place. In order not to be mistaken, small marks are made on the rug - stamps.

The property department is in charge of small details of the situation and those objects with which the actor works. They are stored in comfortable capacious cabinets, on the doors of which there are labels with the names of performances. Often there is a need to purchase real, not fake things - after all, in every performance there is an "outgoing" prop: food, matches, cigarettes and much more, which is "destroyed" in the course of the action. By the way, "live props" - a dog, a cat or a scarecrow in a cage - is also the concern of the props. Immediately before the performance, the costumes are brought from the store. For this, there are special metal carts with a frame: shoes are folded at the bottom, and suits are hung on a hanger. Master dressers help the artists get dressed.

Before the start of the performance, the actors are worried behind the scenes. There is only one person on the stage now. He hastily, but carefully examines the scenery. I need to check everything one last time. This person is an assistant director. He directs the performance: calls for the beginning, opens and closes the curtain, calls the actors to the stage, notifies the stage workers about the upcoming change of scenery. This is how the art of theater is created and lives by the joint creative work of professionals and enthusiasts in the workshops and behind the scenes.

WHY YOU NEED A DIRECTOR

The audience does not see the director on stage during the action, he can only appear after the performance - to bow along with the actors and greet the audience. For centuries the theater lived without even trying to ask a question. why do you need a director? And in our time, going to see a new performance, people are often interested in who staged the performance.

There has always been a person in the theater who worked with actors, artists, solved a variety of tasks - creative and technical. But for a long time this "character" remained in the shadows, even the definition for it was not immediately found. Only by the beginning of the 19th century in the theatrical environment began to be mentioned someone who was the main one in the preparation of the performance - the creator of the stage world. At the turn of the XVIII-XIX centuries. a new concept appeared on the pages of German theatrical publications - "directing". However, in different countries the new figure of the theatrical process was called differently, and at first the tasks and forms of work depend on the name.

In the Russian language, the concept of "directing" came from the German: regiehen - "to manage". Therefore, the director is the one who manages, directs. In French, the name has a professional connotation: the director is called the "master of mise-en-scène" (fr. metteur enscene). Mise-en-scene (from French mise enscene - "staging on stage") is the location of the actors on the stage at every moment of the performance. The alternation of mise-en-scenes in the order in which the play prescribes gives rise to stage action.

In England, the director was called the one who "produces" the performance - performs the organizational work that precedes the creative one. With the advent of cinema, the creators of a theatrical performance began to be called director - that is, the one who directs the action and is responsible for everything. Sometimes another term is used - director. The origin of this name also has an explanation. The process of working on a performance involves translation, transposition of a literary text into a special stage language. The director reproduces, i.e., stages, the play on the stage with the help of actors, decorator, composer, etc.

The director has many tasks: he must be both the organizer, and the teacher, and the interpreter of the text of the play - a kind of leader, "master" of the performance. Both the people of the theater and the public realized the main role of the director not immediately, but gradually. Throughout the 19th century the very existence of a new profession was questioned - and the authors, and sometimes the actors did not want to obey the director. The creators of the performances often distributed responsibilities. One worked with the actors, the second decided how the stage would be framed, the third explained to the troupe the playwright’s intention, etc. It is no coincidence that in the 19th century such concepts as pictorial directing arose (producers were engaged in solving the stage space) and verbal directing (transformation of the word written into the spoken word).

Some historians believe that the director has existed since the emergence of the theater, and they are partly right: someone has always been involved in the preparation of the play. There is another opinion: directing arose only with the advent of a special type of dramaturgy, which required a complex construction of stage action, work with an ensemble (fr. ensemble - literally "together") of actors, and the creation of a stage atmosphere. Such a drama appeared in the last quarter of the 19th century, and it was called that: the new drama. It was then that the interpreters of this drama came to the theater - directors; they sought to create a special artistic world on the stage. The performance was now understood as something integral, it had to confirm the unity of the director's intention and the acting. The very concept of "intention" was also born at the end of the 19th century.

However, the idea of ​​directing appeared almost a century earlier: the German romantics of the late 18th - first half of the 19th century spoke of a theatrical performance as an independent world created by the artist-creator. The Russian writer and playwright Nikolai Vasilyevich Gogol () believed that in the theater someone should "manage" both tragedy and comedy. He called such an "artist's actor" "we are waiting for the choirs" (an obvious analogy with the director!). "Only a true actor-artist can hear the life contained in a play, and make this life visible and alive to all actors; he alone can hear the legitimate measure of rehearsals - how to produce them, when to stop and how many of them are enough to so that the play could appear in its full perfection before the public, "Gogol argued, very accurately and in detail defining the meaning of directing, staging work. But in the Russian theater then, in the 40s. XIX century, these statements of the writer seemed only unrealizable dreams, utopia. The very idea of ​​the need for directing in Russia came later than other European countries - only at the very end of the 19th century.

The director creates a performance - a special theatrical work: such an idea took root in the minds of theater theorists and practitioners at the turn of the 19th-20th centuries. Although in the musical theater the choreographer (or choreographer) appeared much earlier. 18th century ballet creators and especially in the 19th century, when the romantic ballet conquered the stage, these are clear predecessors of modern directors. Late XIX - early XX century. - the time of the emergence of major directors. Now the success of the performance begins to depend on the director's intention, his understanding of the play. Actors eventually recognize their subordinate role. However, the paradox (more precisely, even the rule that does not provide for exceptions) is that a successful performance, a truly artistic work, can be created only if the actor and director are equal in talent, in ability to understand the text of the play. And a good actor ultimately obeys the will of the director, because the performance is their common creation.

Since the beginning of the XX century. everywhere, with the exception of Italy and the United States of America, where the formation of the theater differed from the pan-European one, directors began to determine the development of stage art. Very quickly, the debate about the need for directing almost ceased, but another controversy arose: about the tasks of directing art. There is no doubt that this is art. One of the founders of the Moscow Art Theater - Vladimir Ivanovich Nemirovich Danchenko () believed: the director must die in the actor, that is, the director must put his idea into the consciousness of the actor, it is through him to express everything that he intends to say himself. For each play, the director is obliged to find a special form of life on the stage, to penetrate deeply into the author's intentions and understand the forms of his thinking. The famous experimenter in the field of theatrical art, Vsevolod Emilievich Meyerhold, argued with this approach. He believed that the director is the "author of the play" and therefore should feel free. The author's text, according to Meyerhold, imposes certain limits on the freedom of the director's intention, but the director cannot and should not be a slave of the text in any case.

Such disputes continue to this day, since with the appearance of the figure of the director in the theatrical process, interpretation, that is, understanding, explanation of the play by the director began to play an important role. To what extent is the director free in the interpretation of a literary text? What is the director of the play primarily interested in: the play or the opportunity to express their ideas by rethinking or even distorting the playwright's intention? Of course, everything depends on the director's individuality, his will, his understanding of the essential problems of being - hence, on his worldview. Of course, there are limits to the freedom of interpretation in directing art, but everyone decides this question for himself. When directing established itself as a stage profession and a special form of theatrical thinking, the question of directing style inevitably arose. What role do the principles of life-likeness play in the work of this or that director when the scene becomes a "cutout of life"? How often and extensively does the director use metaphors? How does he relate to the theatrical tradition? The concept of metaphor in performing arts is rather complicated, somewhat confusing. However, the language of the stage is the language of art; consequently, the director must master the forms of precisely artistic thinking, create his own image of the world.

Directing art, like any other, is primarily imaginative thinking. In the performance, images are made up of acting, rhythm, tempo, and depend on the construction of the stage space. The history of the performing arts of the XX century. knows the impressive director's images of the world, reflecting the peculiarities of the artistic worldview of various masters. The recognized creators of stage metaphors were Henry Edward Gordon Craig (), Vsevolod Emilievich Meyerhold, George Strehler (1, Yuri Petrovich Lyubimov (born in 1917), choreographers Maurice Bejart (real name Berger, born in 1927) and Mate Egk , as well as Robert Wilson and Luke Bondy, who successfully work on opera stages. A stage metaphor composed by the director helps to comprehend the essence of any phenomenon or event. On stage, metaphors, unlike literary ones, are most often spatial, they are created by the stage director of the performance together with the stage designer "Sometimes it is difficult to determine who owns this or that spatial solution: the director or the stage designer. However, this does not really matter. The result is important - the impact on the audience, the most vivid expression of the essence of the director's intention.

So, the golden mantle of the pyramid entered the history of theatrical art, which turned the retinue of the king into a dangerous monster. It was specially designed for Gordon Craig's play "Hamlet", staged at the Moscow Art Theater (1911). The heavy knitted curtain in the same "Hamlet" staged by Yuri Lyubimov in 1971 symbolized fate.

As soon as the director gained a dominant position in the theater, the problem of mutual understanding between the participants in the performance became important. Different styles, different creative passions can collide on the stage. The director is called upon to combine all the elements into one whole, taking into account the peculiarities of the characters of the actors and the tastes of the artist, understanding the duality of their role in preparing the performance. The actors and the stage designer are at the same time independent and subject to the will of the director. In his work, he must remember the double, or rather, even triple, subordination of the actor. The participant in the stage action must be guided by the text of the play (in any case, pronounce the words written by the playwright), follow the director's instructions and master the space built by the stage designer.

The history of the theater of the XX century. showed that at the request of the director and with the help of actors embodying his idea on the stage, even the genre of the play underlying the performance can be changed. The comedy text, at the will of the director, acquires the features of a tragedy, the tragic plot is treated as satirical, and the dramatic character looks funny. A genuine work of theatrical art is born only in the creative collaboration of all participants in the stage action, but the leading role of the director must certainly be preserved.

LIGHT EFFECTS ON SCEHE

Lighting effects are created not only with the help of electrical appliances in the theater. It is interesting to use some fabrics in combination with light. Especially unusual effects give tulle and black velvet. Tulle has a wonderful property: it becomes invisible if the space is lit from behind, and turns into an opaque "wall" when lit from the front. Look at ordinary homemade tulle curtains. We can perfectly see what is happening on the street if we look through them at the window when the room is dark. But it is worth turning on the light, and the curtains lose their transparency. True, it must be borne in mind that home tulle is usually white, and theatrical tulle is black (white is tinted gray or painted). If several tulle backdrops are placed in front of a picturesque backdrop at some distance from each other and illuminated, then the viewer will have a greater sense of spatial depth: a slight haze will appear, which is especially important in landscape scenery. Black velvet absorbs light rays and thus allows you to create the effect of invisibility. For example, a character will easily "disappear" against a background of black velvet, covered with the same fabric. This technique is especially good in a fairy-tale performance.

NOISES OFF STAGE

And today in some theaters they use devices to imitate sounds, invented many years ago - when people did not have sound recording and sound reproducing devices. Whistles of various designs depict the singing of birds, strikes on a sheet of iron suspended on a frame - peals of thunder, friction on the stretched fabric of a ribbed wooden drum - the sound of the wind ... It's impossible to list everything. Now such devices are used not so often. And working with them is a special art. But the live sound created by these simple devices is incomparable in reliability with the sound coming from the speakers.

MAKE UP CEX

An important detail of the stage appearance of an actor is makeup. It allows the performer to change the appearance, helps to create an image. The actor is looking for a make-up drawing together with a make-up artist. Especially difficult are the so-called portrait make-ups, when the artist must become like a famous person. But makeup can be light, just emphasize facial features, make them more expressive.

The duty of the workers of the make-up shop also includes post-dressing work - the manufacture of wigs and overlays (mustache, beard, sideburns). The pads are glued to the face with special glue, and each actor has his own beard and mustache. To make it convenient to work, the stylist fixes a "hat" on a wooden blank, sewn from tulle according to the shape of the head and stitched with a narrow cotton braid for strength and shape.

FROM THE SELECTION OF A PLAY TO THE PREMIERE

In different eras, performances were prepared in different ways. Gradually, the practice of the rehearsal process, common to theaters of all countries, developed. It all starts with the choice of a play. The director reads the text to the actors, then distributes the roles, and then the reading takes place according to the roles. The next stage is "table" rehearsals (from Latin repetitio - "repetition"). At the same time, the director works with the production designer: they discuss the construction of the stage space in which the play will unfold. The decisive word always belongs to the director - the actors follow his instructions.

When the scenery and costumes are prepared, rehearsals from a special (rehearsal) room are transferred to the stage. The participants of the performance, already in make-up and costume, settle in the space of the siena. Usually the performance is prepared for two three, and sometimes five months. It is necessary to coordinate the performance of the actors with the extras, with the noisemakers, to think over the lighting. Editing rehearsals are conducted without actors: they set the scenery, work out the closing and opening of the curtain. Finally, the day of the dress rehearsal arrives (sometimes referred to as the "dad and mum" show). Now the performance can be shown to the public - the day of the premiere is ahead.

IN THE MUSICAL THEATER

When staging an opera performance, there is also a stage of stage rehearsals. At first - in the classroom, under the piano, in enclosures (screens, steps, ramps - inclined platforms, machines - platforms that rise above the floor) with furniture (tables, benches, sofas, armchairs, chairs, etc.), with props, props (samovar, bouquets of flowers, inkwell, paper, a bowl for cooking jam, fans, etc.). Props in Latin means "necessary". Now, after long stage rehearsals to the piano, a new stage of rehearsals with the orchestra will begin. All disputes, clarifications, searches for convenience for singing, audibility of the text, authenticity of behavior end with the main rehearsals, which are called "runs", "general rehearsals". Now they bring costumes from the dressing rooms, "settle in". Before the general rehearsal, there is a "light", "mounting" session.

In a musical theater, all switching on of lighting devices (spotlights, spotlights) occurs exactly according to musical phrases, and the illuminators do this. All preparation of lighting can take place on the scenery with or without people. Changing the design of one picture to another is done at the command of the assistant director under the guidance of the machinist of the sienna. The change of scene takes place either with the curtain closed during "sitting intermissions" when the audience is seated. place (this is called "clean break"), or during a long intermission. If you look behind the closed curtain, you can see how quickly all those involved in the rearrangement run out - props, props, lighting, working siennas. Alya so that they would not collide and each, without interfering with each other, did his job, and there are editing rehearsals. In the opera, in addition to the actors, the choir is necessarily involved, which consists of several groups of voices: female - sopranos and altos, male - tenors, baritones, basses. They can perform simultaneously and by voices, i.e., as provided by the composer. The choirmaster prepares the choir for the performance, learns the parts with them. As a result of joint efforts, an opera performance is born, in which the audible is combined with the visible.

Theater as an art form. The specificity of theatrical creativity.

Theater as an art form.

Theatrical art is one of the most complex, most effective and oldest arts. Moreover, it is heterogeneous, synthetic. As components, theatrical art includes architecture, painting and sculpture (scenery), and music (it sounds not only in musical, but often in a dramatic performance), and choreography (again, not only in ballet, but also in drama). ), and literature (the text on which a dramatic performance is built), and the art of acting, etc. Among all of the above, the art of acting is the main, determining one for the theater.

The art of theater, unlike other arts, is a living art. It occurs only at the hour of meeting with the viewer. It is based on the indispensable emotional, spiritual contact between the stage and the audience. There is no such contact, which means that there is no spectacle that lives according to its own aesthetic laws.

Theater is a doubly collective art. The spectator perceives a theatrical production, a stage action not alone, but collectively, “feeling the elbow of a neighbor”, which to a large extent enhances the impression, the artistic contagion of what is happening on the stage. At the same time, the impression itself comes not from one person-actor, but from a group of actors. Both on the stage and in the auditorium, on both sides of the ramp, they live, feel and act - not separate individuals, but people, a society of people, connected with each other for a while by common attention, purpose, common action.

To a large extent, it is precisely this that determines the enormous social and educational role of the theater. Art, which is created and perceived together, becomes a school in the true sense of the word. “The theater,” wrote the famous Spanish poet Garcia Lorca, “is a school of tears and laughter, a free platform from which people can denounce outdated or false morality and explain, using living examples, the eternal laws of the human heart and human feeling.”

A person turns to the theater as a reflection of his conscience, his soul - he recognizes himself in the theater, his time and his life. The theater opens before him amazing opportunities for spiritual and moral self-knowledge.

^ The specificity of theatrical creativity.

Each art, having special means of influence, can and must make its contribution to the general system of aesthetic education.

Theater, like no other form of art, has the greatest "capacity". He absorbs the ability of literature to recreate life in a word in its external and internal manifestations, but this word is not narrative, but lively-sounding, directly effective. At the same time, unlike literature, the theater recreates reality not in the mind of the reader, but as objectively existing pictures of life (performance) located in space. And in this respect, the theater is close to painting. But the theatrical action is in continuous motion, it develops in time - and this is close to music. Immersion in the world of the viewer's experiences is akin to the state that a listener of music experiences, immersed in his own world of subjective perception of sounds.

Of course, theater is by no means a substitute for other art forms. The specificity of the theater is that it carries the “properties” of literature, painting and music through the image of a living acting person. This direct human material for other forms of art is only the starting point of creativity. For the theatre, "nature" serves not only as material, but is also preserved in its immediate vivacity. As the philosopher G. G. Shpet noted: “The actor creates from himself in a twofold sense: 1) like any artist, from his creative imagination; and 2) specifically having in its own person the material from which the artistic image is created.

The art of the theater has an amazing ability to merge with life. The stage performance, although it takes place on the other side of the ramp, at moments of high tension blurs the line between art and life and is perceived by the audience as reality itself. The attractive power of the theater lies in the fact that "life on the stage" freely asserts itself in the imagination of the viewer.

Such a psychological turn occurs because the theater is not only endowed with the features of reality, but in itself is an artistically created reality. Theatrical reality, creating the impression of reality, has its own special laws. The truth of the theater cannot be measured by the criteria of life's plausibility. The psychological load that the hero of the drama takes upon himself cannot be endured by a person in life, because in the theater there is an extreme compaction of entire cycles of events. The hero of the play often experiences his inner life as a bunch of passions and a high concentration of thoughts. And all this is taken by the audience for granted. "Incredible" according to the norms of objective reality is not at all a sign of unreliable art. In the theater, “truth” and “untruth” have different criteria and are determined by the law of figurative thinking. “Art is experienced as a reality by the fullness of our mental “mechanisms”, but at the same time it is evaluated in its specific quality as a man-made-game “not real”, as children say, illusory doubling of reality.”

The visitor to the theater becomes a theatrical spectator when he perceives this double aspect of the stage action, not only seeing a vitally concrete act in front of him, but also understanding the inner meaning of this act. What is happening on the stage is felt both as the truth of life and as its figurative recreation. At the same time, it is important to note that the viewer, without losing a sense of the real, begins to live in the world of the theater. The relationship between real and theatrical reality is rather complicated. There are three phases in this process:

1. The reality of objectively shown reality, transformed by the playwright's imagination into a dramatic work.

2. A dramatic work embodied by the theater (director, actors) in stage life - a performance.

3. Stage life, perceived by the audience and become part of their experiences, merged with the life of the audience and, thus, again returned to reality.

But the "return" is not analogous to the original source, now it is enriched spiritually and aesthetically. "A work of art is made to live - to live almost literally

This word, i.e. entered, like experienced events of real life,

In the spiritual experience of each person and all mankind.

The crossing of two types of active imagination - the actor's and the audience's - gives rise to what is called "the magic of the theater". The advantage of theatrical art lies in the fact that it embodies the imaginary into a live action unfolding on the stage with clarity and concreteness. In other arts, the imaginary world either appears in human imagination, as in literature and music, or is depicted in stone or on canvas, as in sculpture or painting. In the theater, the viewer sees the imaginary. "Every performance contains some physical and objective elements available to any viewer" .

Stage art by its very nature presupposes not passive, but active enthusiasm for the audience, for in no other art is there such a dependence of the creative process on its perception as in the theater. At G.D. Gachev, the audience is “like celestials, like a thousand-eyed Argus<...>ignite the action on the stage<...>for the world of the stage itself arises, appears, but to the same extent is the work of the spectator.

The basic law of the theater - the internal complicity of the audience in the events taking place on the stage - involves the excitement of the imagination, independent, internal creativity in each of the spectators. This fascination with the action distinguishes the spectator from the indifferent observer, who is also found in theater halls. The spectator, unlike the actor, the active artist, is a contemplative artist.

The active imagination of the audience is not at all some special spiritual property of the chosen art lovers. Of course, the developed artistic taste is of great importance, but this is a matter of the development of those emotional principles that are inherent in every person. “Artistic taste opens the way for the reader, listener, viewer from the external form to the internal and from it to the content of the work. For this path to be successfully passed, the participation of imagination and memory, the emotional and intellectual forces of the psyche, will and attention, and finally, faith and love, that is, the same integral mental complex of spiritual forces that carry out the creative act, is necessary.

Consciousness of artistic reality in the process of perception is the deeper, the more fully the viewer is immersed in the sphere of experience, the more multi-layered art enters the human soul. It is at this junction of two spheres - unconscious experience and conscious perception of art that imagination exists. It is inherent in the human psyche initially, organically, accessible to every person and can be significantly developed in the course of the accumulation of aesthetic experience.

Aesthetic perception is the creativity of the viewer, and it can reach great intensity. The richer the nature of the viewer himself, the more developed his aesthetic sense, the more complete his artistic experience, the more active his imagination and the richer his theatrical impressions.

Aesthetics of perception is largely geared towards the ideal viewer. In reality, the conscious process of educating theatrical culture will probably advance the viewer to gain knowledge about art and master certain skills of perception. An educated viewer may well:

Know the theater in its own laws;

Know the theater in its modern processes;

Know the theater in its historical development.

At the same time, one should be aware that the knowledge mechanically folded in the viewer's head is not a guarantee of a full-fledged perception. The process of formation of the audience culture to a certain extent has the properties of a “black box”, in which quantitative moments do not always add up in a straight line into certain qualitative phenomena.

Theater is an amazing art. If only because over the past century he was predicted several times imminent death. He was threatened by the Great Silent, who had found speech - it seemed that sound cinema would take away all the audience from the theater. Then the threat came from television, when the spectacle came directly to the house, later the powerful spread of video and the Internet began to be feared.

However, if we focus on the general trends in the existence of theatrical art in the world, then there is nothing surprising in the fact that at the beginning of the 21st century the theater not only retained itself, but began to clearly emphasize the non-mass character and, in a certain sense, the “elitism” of its art. But in the same sense, one can speak of the elitism of fine arts or classical music, if we compare the audience of many millions that popular performers gather with a limited number of people at the conservatory.

In the synthetic theater of modern times, the traditional correlation of the dominant principles - truth and fiction - appears in a kind of indissoluble unity. This synthesis takes place both as an act of experience (perception of the truth of life) and as an act of aesthetic pleasure (perception of theater poetry). Then the viewer becomes not only a psychological participant in the action, that is, a person who "absorbs" the fate of the hero and spiritually enriches himself, but also a creator who performs a creative action in his imagination, simultaneously with what is happening on the stage. This last moment is extremely important, and in the aesthetic education of the audience it occupies a central place.

Of course, each viewer can have their own idea of ​​the ideal performance. But in all cases it is based on a certain "program" of requirements for art. This kind of “knowledge” presupposes a certain maturity of the audience culture.

Spectator culture to a large extent depends on the nature of the art that is offered to the viewer. The more difficult the task set before him - aesthetic, ethical, philosophical, the more tense the thought, the sharper the experience, the subtler the manifestation of the viewer's taste. For what we call the culture of the reader, listener, viewer is directly related to the development of the very personality of a person, depends on his spiritual growth and affects his further spiritual growth.

The significance of the task that the theater poses to the viewer in psychological terms lies in the fact that the artistic image, given in all its complexity and inconsistency, is perceived by the viewer at first as a real, objectively existing character, and then, as you get used to the image and reflect on it. actions, reveals (as if independently) its inner essence, its generalizing meaning.

In terms of aesthetics, the complexity of the task lies in the fact that the viewer perceives the stage imagery not only according to the criteria of truth, but also knows how (learned) to decipher its poetic metaphorical meaning.

So, the specificity of theatrical art is a living person, as a directly experiencing hero and as a directly creating artist-artist, and the most important law of the theater is a direct impact on the viewer.

The "theater effect", its clarity is determined not only by the dignity of the art itself, but also by the dignity, the aesthetic culture of the auditorium. The spectator as an obligatory co-creator of the performance is most often written and spoken about by theater practitioners themselves (directors and actors): “There is no theatrical performance without the participation of the public, and the play has a chance of success only if the spectator himself “loses” the game, i.e. ... accepts its rules and plays the role of a person who empathizes or withdraws.

However, the awakening of the artist in the viewer occurs only if the viewer is able to fully perceive the content inherent in the performance, if he is able to expand his aesthetic range and learn to see the new in art, if, remaining true to his favorite artistic style, he does not turn out to be deaf and to other creative directions, if he is able to see a new reading of a classic work and is able to separate the director's idea from its implementation by the actors ... There are many more such "if" ones. Consequently, in order for the spectator to become involved in creativity, so that the artist awakens in him, at the present stage of the development of our theater, a general increase in the artistic culture of the spectator is necessary.

theater art suite

Like any other art form (music, painting, literature), the theater has its own special features. This art is synthetic: a theatrical work (performance) consists of the text of the play, the work of the director, actor, artist and composer. Music plays a decisive role in opera and ballet.

Theater is a collective art. The performance is the result of the activity of many people, not only those who appear on the stage, but also those who sew costumes, make props, set the light, meet the audience. No wonder there is a definition of "theatrical workshop workers": a performance is both creativity and production.

The theater offers its own way of understanding the surrounding world and, accordingly, its own set of artistic means. The performance is both a special action played out in the space of the stage, and a special figurative thinking, different from, say, music.

Theater, like no other form of art, has the greatest "capacity". He absorbs the ability of literature to recreate life in a word in its external and internal manifestations, but this word is not narrative, but lively-sounding, directly effective. At the same time, unlike literature, the theater recreates reality not in the mind of the reader, but as objectively existing pictures of life (performance) located in space. And in this respect, the theater is close to painting. But the theatrical action is in continuous motion, it develops in time - and this is close to music. Immersion in the world of the viewer's experiences is akin to the state that a listener of music experiences, immersed in his own world of subjective perception of sounds.

Of course, theater is by no means a substitute for other art forms. The specificity of the theater is that it carries the “properties” of literature, painting and music through the image of a living acting person. This direct human material for other forms of art is only the starting point of creativity. For the theatre, "nature" serves not only as material, but is also preserved in its immediate vivacity.

The art of the theater has an amazing ability to merge with life. The stage performance, although it takes place on the other side of the ramp, at moments of high tension blurs the line between art and life and is perceived by the audience as reality itself. The attractive power of the theater lies in the fact that "life on the stage" freely asserts itself in the imagination of the viewer.

Such a psychological turn occurs because the theater is not only endowed with the features of reality, but in itself is an artistically created reality. Theatrical reality, creating the impression of reality, has its own special laws. The truth of the theater cannot be measured by the criteria of life's plausibility. The psychological load that the hero of the drama takes upon himself cannot be endured by a person in life, because in the theater there is an extreme compaction of entire cycles of events. The hero of the play often experiences his inner life as a bunch of passions and a high concentration of thoughts. And all this is taken by the audience for granted. "Incredible" according to the norms of objective reality is not at all a sign of unreliable art. In the theater, “truth” and “untruth” have different criteria and are determined by the law of figurative thinking. “Art is experienced as a reality by the fullness of our mental “mechanisms”, but at the same time it is evaluated in its specific quality as a man-made-game “not real”, as children say, illusory doubling of reality.”

The visitor to the theater becomes a theatrical spectator when he perceives this double aspect of the stage action, not only seeing a vitally concrete act in front of him, but also understanding the inner meaning of this act. What is happening on the stage is felt both as the truth of life and as its figurative recreation. At the same time, it is important to note that the viewer, without losing a sense of the real, begins to live in the world of the theater. The relationship between real and theatrical reality is rather complicated. There are three phases in this process:

1. The reality of objectively shown reality, transformed by the playwright's imagination into a dramatic work.

2. A dramatic work, embodied by the theater (director, actors) into stage life - a performance.

3. Stage life, perceived by the audience and become part of their experiences, merged with the life of the audience and, thus, again returned to reality.

The basic law of the theater - the internal complicity of the audience in the events taking place on the stage - involves the excitement of the imagination, independent, internal creativity in each of the spectators. This fascination with the action distinguishes the spectator from the indifferent observer, who is also found in theater halls. The spectator, unlike the actor, the active artist, is a contemplative artist.

The active imagination of the spectators is not at all some special spiritual property of the chosen art lovers. Of course, the developed artistic taste is of great importance, but this is a matter of the development of those emotional principles that are inherent in every person.

Consciousness of artistic reality in the process of perception is the deeper, the more fully the viewer is immersed in the sphere of experience, the more multi-layered art enters the human soul. It is at this junction of two spheres - unconscious experience and conscious perception of art that imagination exists. It is inherent in the human psyche initially, organically, accessible to every person and can be significantly developed in the course of the accumulation of aesthetic experience.

Aesthetic perception is the creativity of the viewer, and it can reach great intensity. The richer the nature of the viewer himself, the more developed his aesthetic sense, the more complete his artistic experience, the more active his imagination and the richer his theatrical impressions.

Aesthetics of perception is largely geared towards the ideal viewer. In reality, the conscious process of educating theatrical culture will probably advance the viewer to gain knowledge about art and master certain skills of perception.

In the synthetic theater of modern times, the traditional correlation of the dominant principles - truth and fiction - appears in a kind of indissoluble unity. This synthesis takes place both as an act of experience (perception of the truth of life) and as an act of aesthetic pleasure (perception of theater poetry). Then the viewer becomes not only a psychological participant in the action, that is, a person who "absorbs" the fate of the hero and spiritually enriches himself, but also a creator who performs a creative action in his imagination, simultaneously with what is happening on the stage. This last moment is extremely important, and in the aesthetic education of the audience it occupies a central place.

Of course, each viewer can have their own idea of ​​the ideal performance. But in all cases it is based on a certain "program" of requirements for art. This kind of “knowledge” presupposes a certain maturity of the audience culture.

Spectator culture to a large extent depends on the nature of the art that is offered to the viewer. The more difficult the task set before him - aesthetic, ethical, philosophical, the more intensified the thought, the sharper the experience, the subtler the manifestation of the viewer's taste. For what we call the culture of the reader, listener, viewer is directly related to the development of the very personality of a person, depends on his spiritual growth and affects his further spiritual growth.

The significance of the task that the theater poses to the viewer in psychological terms lies in the fact that the artistic image, given in all its complexity and inconsistency, is perceived by the viewer at first as a real, objectively existing character, and then, as you get used to the image and reflect on it. actions, reveals (as if independently) its inner essence, its generalizing meaning.

In terms of aesthetics, the complexity of the task lies in the fact that the viewer perceives the stage imagery not only according to the criteria of truth, but also knows how (learned) to decipher its poetic metaphorical meaning.

So, the specificity of theatrical art is a living person, as a directly experiencing hero and as a directly creating artist-artist, and the most important law of the theater is a direct impact on the viewer.

The "theater effect", its clarity is determined not only by the dignity of the art itself, but also by the dignity, the aesthetic culture of the auditorium. However, the awakening of the artist in the viewer occurs only if the viewer is able to fully perceive the content inherent in the performance, if he is able to expand his aesthetic range and learn to see the new in art, if, remaining true to his favorite artistic style, he does not turn out to be deaf and to other creative directions, if he is able to see a new reading of a classic work and is able to separate the director's idea from its implementation by the actors ... There are many more such "if" ones. Consequently, in order for the spectator to become involved in creativity, so that the artist awakens in him, at the present stage of the development of our theater, a general increase in the artistic culture of the spectator is necessary.

The theatrical performance is based on a text, such as a play for a dramatic performance. Even in those stage productions where the word as such is absent, the text is necessary; in particular, ballet, and sometimes pantomime has a script - a libretto. The process of working on a performance consists in transferring the dramatic text to the stage - this is a kind of "translation" from one language to another. As a result, the literary word becomes the stage word.

The first thing the viewer sees after the curtain opens (or rises) is the stage space in which the scenery is placed. They indicate the place of action, historical time, reflect the national flavor. With the help of spatial constructions, even the mood of the characters can be conveyed (for example, in an episode of the hero’s suffering, immerse the scene in darkness or tighten its backdrop with black). During the action, with the help of a special technique, the scenery is changed: the day is turned into night, winter into summer, the street into a room. This technique has evolved along with the scientific thought of mankind. Lifting mechanisms, shields and hatches, which in ancient times were operated manually, are now electronically raised and lowered. Candles and gas lamps are replaced by electric lamps; lasers are often used.

Even in antiquity, two types of stage and auditorium were formed: the box stage and the amphitheater stage. The box stage provides for tiers and stalls, and the audience surrounds the amphitheater stage from three sides. Now in the world both types are used. Modern technology makes it possible to change the theatrical space - to arrange a platform in the middle of the auditorium, to seat the viewer on the stage, and to play the performance in the hall. Great importance has always been attached to the theater building. Theaters were usually built in the central square of the city; architects wanted the buildings to be beautiful, to attract attention. Coming to the theater, the spectator renounces everyday life, as if rising above reality. Therefore, it is no coincidence that a staircase decorated with mirrors often leads to the hall.

Music helps to enhance the emotional impact of a dramatic performance. Sometimes it sounds not only during the action, but also during the intermission - to maintain the interest of the public. The main person in the play is the actor. The viewer sees a person in front of him, mysteriously turned into an artistic image - a kind of work of art. Of course, a work of art is not the performer himself, but his role. She is the creation of an actor, created by voice, nerves and something imperceptible - spirit, soul. In order for the action on the stage to be perceived as a whole, it is necessary to organize it thoughtfully and consistently. These duties in the modern theater are performed by the director. Of course, a lot depends on the talent of the actors in the performance, but nevertheless they are subject to the will of the leader - the director. People, like many centuries ago, come to the theater. From the stage, the text of the plays is heard, transformed by the forces and feelings of the performers. Artists conduct their own dialogue - and not only verbal. This is a conversation of gestures, postures, looks and facial expressions. The decorator's fantasy with the help of color, light, architectural structures on the site makes the space of the stage "speak". And everything together is enclosed in a strict framework of the director's intention, which gives the heterogeneous elements completeness and integrity.

The spectator consciously (and sometimes unconsciously, as if against his will) evaluates the acting and directing, the compliance of the theatrical space solution with the general plan. But the main thing is that he, the viewer, joins the art, unlike others, created here and now. Comprehending the meaning of the performance, he comprehends the meaning of life.

The history of the theater goes back to ancient Greece more than two thousand years ago. The most ancient art originated as a spectacular entertainment for the public, festive scenes of costumed actors. The performances were originally timed to coincide with the Great Dionysius, a great religious holiday.

Now the theater is undoubtedly something more than a procession of singing men in goatskins through the city. It has become a high art, a way of relaxation for high society, a place of cultural enlightenment. The history of the theater is a fascinating process of development that continues to this day. We will tell the reader in our article. You will also find many interesting facts in the presented material. So, let's begin.

Start

Athens in the 5th century BC. e. theatrical performances were an integral part of religious holidays. Processions with the statue of Dionysus were accompanied by cheerful chants and dramatic games. We can say that the history of the Athenian theater began as an amateur performance for a small number of onlookers. Initially, only tragedies were staged, comedies began to be shown later. It is noteworthy that the plays, as a rule, were shown only once. This stimulated the authors to create relevant, interesting works. The playwright not only wrote the play, he was a full-fledged participant in the performance, playing the roles of director, composer, choreographer and even actor. Naturally, these were exceptionally talented people.

But to become a choreg (leader of the choir), great talent was not required. All they needed was money and connections with government officials. The choreg's main duty was to pay the bills, provide full financial support and support the theatre. It was in those days a place of competition, the choreg, the poet and the protagonist won it. The winners were crowned with ivy and awarded prizes. The victory was given to them by the decision of the jury.

An interesting fact is that the ancient Romans were real fans of realism. The production was considered ideal in which the actor got used to the role by 100% - if necessary, he had to be ready even to die.

There was no roof in the Greek theater, the audience and actors were, in fact, on the street. The size of the ancient theaters was huge, they could accommodate from 17 to 44 thousand people. At first, wooden platforms were used to seat the audience, then natural stone slopes were adapted for the theater. And only then, in the IV century BC. e., a stone theater was built.

You will probably be interested to know that the government, starting with Pericles, made it possible to visit the theater and join the beautiful, even for financially disadvantaged citizens. To do this, each was allocated a subsidy for one visit to the theater, and in the future for three visits.

The history of the ancient theater has one characteristic feature: the actors played their roles without the help of their own facial expressions. It was replaced by all sorts of masks, often very grotesque. The actor paid much attention to the movements of the body, clothing. The actors were men, even for female roles. They occupied a privileged position in society and were exempt from taxes.

An interesting fact is that Livy Andronicus, an ancient Roman playwright, became the father of the world's first "phonogram". He was left without a voice, but got out of the situation by finding a boy who spoke for him.

Some terms of the ancient theater

Many definitions used in ancient theaters have survived to the present day. A small dictionary of terms of ancient times is presented to your attention below:

• Orchestra - a part of the theater with a round shape with two entrances, designed for the performance of dramatic and lyrical choirs. In the Athenian theater, its diameter was 24 meters.
• Skene is a place for changing clothes. It was originally a simple tent, then connected to pieces of stage decoration, such as a background.
• Proskenium - a colonnade in front of the skene.
• Paraskenium - side stone outbuildings.
• Stage - a hill above the orchestra, where actors began to play in late antiquity.
• Ekkiklema is a mobile platform made of wood that allows you to transform the scene and move the actors around the stage.
• Koturny - shoes with high soles, reminiscent of stilts. With the help of such shoes, the actors became taller, more imposing and similar to mythical creatures.

A remarkable fact is that it was in Rome that the phrase "Finita la commedia" was first uttered.

Puppets in the theater world

The history of the puppet theater originates in Egypt, where the priests used the puppet of the god Osiris to perform ritual actions. At the beginning, the puppet theater was just ritual and ritual, but now the religious connotation has faded to nothing. Well-known ritual and ritual puppet theaters exist in many countries: Japan (Bunraku), Indonesia (Wayang), Catalonia (El Pastores), Belarus (Batleika) and others.

In the history of the puppet theater in America, the theater created in 1962 under the name "Bread and the Doll" stands out. It features giant papier-mâché dolls, obvious political overtones, and delicious bread treats at the entrance. Such interaction between actors and spectators is symbolic: theatrical art should be as close to the people as possible.

Dolls vary in size and appearance. There are finger and glove, cane and tablet, puppets and giant puppets. Being an actor in a puppet theater is not so easy, because you need to be able to revive an inanimate object, endow it with character and voice.

A characteristic feature of any puppet theater is the ridicule of something, the presence of morality, an educational element in the scenes. No matter how old the spectator of the puppet theater is, he will find there not only something to laugh at, but also something to think about. Often the heroes in the puppet theater are unattractive, even ugly characters, for example, the French Open with a hooked nose.

You will probably be interested to know that actors are not always rich people. In the history of puppet theater in America, there are facts that theatergoers could see the production in exchange for food.

Drama

The history of drama theater dates back to ancient times. This is one of the art forms, along with puppet theater, pantomime, opera and ballet. The main distinguishing feature of the dramatic theater is that the actions of the actor are combined with the words he uttered. Stage speech is given special attention in this variety of the genre. The basis of a dramatic performance is a play. In the process of acting, improvisation is possible, the action may include dancing, singing. The performance is based on a literary work. The main interpreter of a play or script is the director.

Quite remarkable is the fact that theater workers believe that dropping a script is not good. If this trouble happened, you must definitely sit on it.

The emergence of domestic theatrical traditions

The history of the theater in Russia is divided into stages:

• Initial ("playful").
• Average.
• Mature.

Playful stage

As in ancient Rome, the history of the theater in Russia began as a not quite serious occupation. Theatrical performances were called “fun”, and the performances were called “games”. The first chronicle mention of buffoons dates back to 1068. In fact, anyone could become such an entertaining actor. From the point of view of religion, the activities of buffoons were shameful. In the annals they are called servants of the devil, and mockery, satire and disguise are sins. Sharp satire was not welcomed by the church, however, this did not particularly stop anyone.

Buffoonery was also not considered an art pleasing to the authorities, on the contrary, the sharp social themes of skits, ridiculing modern shortcomings made the actors dangerous and harmful. But the people loved to watch and laugh at the performances of buffoons. However, it should be understood that classical theater, as we know it now, did not grow out of these buffoon scenes, but independently of them, even rather in spite of them.

middle stage

The next stage in the history of the Russian theater is intermediate between playful and mature. At this phase, court and school theaters arise. At that time, Tsar Alexei Mikhailovich ruled, the actors of the court theater were foreigners, the school theater was students. After the death of Alexei Mikhailovich, the activities of the court theater stopped until Peter I came to power. He had a positive attitude towards "spectacles", but, in addition to entertainment, he also became endowed with a propaganda function. In 1702, a theater for the masses appeared - a public one. Its building was called the "Comedy Temple", where performances were given by the German troupe. The people did not accept this theater. Although Peter I did not achieve his goal, did not make the theater a favorite place for people, public and popular, but he laid all the necessary prerequisites for this.

Mature stage in the history of theatrical art

This period in the history of the creation of the theater in Russia is the most important. At this stage, the theater began to acquire those features that are familiar to modern man, and took shape in a serious professional community. On August 30, 1756, the start was given, namely, the Imperial Theater was opened. The same date is the founding day of the Alexandrinsky Theater in St. Petersburg. It happened under Elizabeth Petrovna.

A feature of the theater of that time was the simultaneous participation in productions of both Russian and foreign artists. It was at this stage that the performance of roles was first entrusted not only to men, but also to women. Catherine II attached great importance to the theater, under her there were three troupes in St. Petersburg, a fantastic amount of money was spent on the development of this industry.

In addition to the development of the state, Catherine paid attention to the private theaters of the nobility, there was, for example, the theater of Sheremetyev, Volkonsky, Rumyantsev. Even in the provinces, their own landlord troupes were created. A Russian theater was being built, namely the productions themselves, based on the models of their French colleagues. At the head of the French school of acting was I. A. Dmitrevsky, who brought up more than one generation of excellent actors.

Did you know?

We present to the attention of the reader some more entertaining facts from the history of theatrical art.

At the time when Pushkin was alive, theaters in Russia were not completely seated. The back rows were occupied by people standing on their feet throughout the performance.

A landmark play in the history of Russian theatrical art is "Undergrowth" by D. I. Fonvizin, which became the first attempt to ridicule officials, nobles, typical characters of the 18th century. Starodum (a positive character) was the first to play just the above-mentioned Dmitrevsky.

In 1803 the imperial theaters were divided. Drama and musical troupes appeared, as well as opera and ballet troupes as parts of the musical one. The dominance of the French school of playing on the Russian stage lasted until the 19th century. It was then that the Russian theater finally got on its feet and went its own way. The adopted experience became a good base, and the discovery of new talented Russian composers, actors, dancers raised the theater to a high level.

P. N. Arapov was the first to describe the entire history of the Russian theater in one encyclopedia - “Chronicles of the Russian Theater”. Theater magazines and professional critics appear. Thus, the development of the theater gave impetus, among other things, to Russian literature.

The most famous theater in Moscow

The history of the Bolshoi Theater begins on March 28, 1776. It was on this day in Moscow that Empress Catherine II signed a “privilege” for Prince Peter Urusov, allowing him to maintain the theater for ten years. It was called at first the Petrovsky Theater (in honor of the street on which the entrance went). In 1805, the building burned down completely, and a new project was created by the architect Osip Bove. In 1820, construction began, lasting 5 years.

The built theater became larger, which is why it got its name. This beautiful, harmonious, rich building pleased the inhabitants of Moscow until 1853, when the second fire broke out. This time, the reconstruction was entrusted to the architect Albert Kavos. The theater was restored already in 1856. The Imperial Bolshoi Theater became famous not only in Russia, but also in the world: it had excellent acoustics. In 1917, after the Revolution, the name was changed to the State Bolshoi Theatre. The decoration was supplemented with Soviet symbols.

He was seriously injured during the Great Patriotic War, taking on a bomb. The building was reconstructed again. Until 1987, the building underwent only minor cosmetic repairs. Now the Bolshoi Theater is a building with a new stage where modern effects can be used. At the same time, it has retained the spirit of classical architecture, its "signature" acoustics, which gives it the right to be considered one of the best theaters in the world. This is the history of the Bolshoi Theatre.

And finally, one more, no less interesting fact. Movies set wholly or partly in a theatre: Birdman, The Disaster Artist, La La Land, The Phantom of the Opera, Burlesque of a Tale, Knockout, Bumping Broadway, Black swan", "The Puppeteer", "A Terribly Big Adventure", "Shakespeare in Love", "Murder in a Small Town", "Orfevre Quay".

The history of the theater (drama and other genres of this art) will continue to develop, as interest in it has remained unchanged for more than two thousand years.

1. Theater as an art form has a synthetic nature. Theatrical performances include expressive possibilities, means of almost all types of art (literary, music, fine art, choreography, etc.). At the same time, none of the art forms will play a leading role. At the present time, the synthesis of the theater is achieved through the use of the developments of modern science and technology (psychology, semiotics, technology).

2. Theater is a collective creative process. It is not only about the joint creativity of the members of the troupe, but it is about the interaction, co-authorship of the viewer. The audience's perception can correct and modify the performance. The performance is not possible without an audience. Audience perception is a serious, creative, intellectual work, even if the viewer himself does not realize it.

3. Theater exists as a momentary performance. Each performance exists only at the moment of its reproduction. This provides an understanding of the idea of ​​historicity in the perception of the theater. It is in the theater that the spectator has direct access, involvement in the work. Regardless of what era the actors are playing.

4. A theatrical work is not preserved because of the moment, it exists only in the current moment. Any transfer to film makes it possible only to fix the action. In this case, the magic of art disappears.

5. The theater, like any kind of art, is subject to a certain artistic time, the events on the stage (the birth of a work) take place simultaneously with the act of perception by the viewer. In the theater, the so-called. stage time - during which the performance takes place. At the present time, the performance is 2.5-3 hours, but some productions suggest a duration of 5-10 hours. Sometimes it takes several days.

6. The main carrier of the theatrical idea, action is the actor. The actor's image is created within the framework of the idea laid down by the play, its interpretation by the director, but, despite this, the actor remains an artist who independently embodies living images on stage.

7. Theater as an art form is subject to interpretation. The problem of interpretation arises in relation not so much to the texts of modern dramaturgy as to the texts of the classics. Interpretation in the theater is a variant of a new reading of a well-known work, in which one can trace the philosophical, political, moral position of the author.

In the theater, interpretation makes it possible to correlate the problems of the current day with the historical facts of the past day.

In the analysis of theatrical interpretation, an important role is played by the understanding of the director's attitudes, his worldview, as well as the clarification of some eternal problems relating to the essence of man. The viewer, perceiving a classical work in the theater, enters into a dialogue not so much with the author, but with the director, which allows you to reveal the essence of the conflicts of modern society. But at the same time, the viewer is in dialogue with the era in which the work was created. Directors turn to classical works, interpret them, because. in them the conflict is not resolved, it is eternal. The director is in a state of "interpretative appeal" (W. Eco). Interpretation in the theater is possible, it is possible at the level of a playwright, at the level of a director, actor, spectator, theater critics (Anatoly Smenlyansky, A.V. Protashevich).

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